Here they come again, those tragic bohemians. Rodolfo with his poems. Marcello with his paintings. Musetta with her songs. Mimi with her consumption. All of them as poor as church mice. Fortunately they can also sing like angels, or like the devil himself, who seems to have it in for them. It’s been eight years since Portland Opera last produced La Bohème, Puccini’s 1896 grand musical potboiler (Toscanini conducted the world premiere in Turin), which is one of opera’s greatest weepers and most enduring hits. Now Portland Opera’s brought it back again, beginning on Friday at Keller Auditorium and continuing for three more performances through May 13. It’ll feature Vanessa Isiguen as poor doomed Mimi, and the young Italian tenor Giordano Lucá, in his American debut, as Rodolfo. Let the singing, and the dying, begin.

Vanessa Issiguen, Mimi in Portland Opera’s “La Boheme,” performing in the opera’s Big Night special in April. Photo: Cory Weaver
THE MAY FIRST THURSDAY ART GALLERY OPENINGS are this week, and one of the shows we’re looking forward to is at Augen, where George Johanson has an exhibition of recent paintings going up. If we gave artists the sort of titles we used to hand out, Johanson would be a Portland Old Master: Born in Seattle in 1928, he came to Portland in 1946 to attend the old Museum Art School (now Pacific Northwest College of Art), and with some breaks in New York, London, and Mexico he’s mostly been here ever since.
Adept as a printmaker and a painter, he’s chronicled pretty much everything from the city’s rivers to its music to his own studio to other artists (in his 2002 book of quick portraits Equivalents: Portraits of 80 Oregon Artists) to Mt. St. Helens blowing its stack, often with a rabbit or a cat streaking across the image. As he approaches 90 he seems as active and creative as ever. His show opens Thursday and he’ll speak at the gallery at noon Saturday, May 13.
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Among the many openings and continuing gallery shows, a few other likely bets:
Yoonhee Choi and Roya Motamedi at Blackfish. Choi’s installation Sift uses bright colors and recycled plastic cups, straight pins, and the like to contemplate consumption and detritus. Motamedi’s Aptitude of Kindness includes collages of fabric and birch on paper.
James Allen’s Northwest Bound at Russo Lee. Allen “excavates” books in search of history and image – in this show, including a large altered set of bound newspapers from the old Oregon Journal in May 1914. Also: Michelle Ramin’s takes on tourists exploring architectural ruins; Amory Abbott’s charcoal drawings.
Mar Goman and Dayna J Collins at Guardino. Goman’s highly crafted, outsidery images (she calls it “curious art”) have a folk art feel and are made from just about anything she can get her hands on. Collins paints abstract images emerging from the waterlines of rivers and ocean.
Alex Lilly’s Razor Blade Rain at Michael Parsons Fine Art. May Day turned into a pitched battle in downtown Portland, and that’s an extension of what Lilly’s vivid and disturbing paintings are about. This new show is based on drawings and photographs he made while watching earlier Portland protests.
Margaret Lindburg’s Resolution at Karin Clarke Gallery. The veteran Salem artist has a new show of paintings at Clarke’s gallery in Eugene, and Randi Bjornstad has this interesting profile of Lindburg in Eugene Review.

Alex Lilly, “Riot Cops – 3rd and SW Madison,” 2017, oil on composite block, 6 x 6 inches, Michael Parsons Fine Art.
BRETT CAMPBELL’S MUSIC PICKS OF THE WEEK:
CURTAINS UP: NEW ONSTAGE
Satchmo at the Waldorf. Salim Sanchez stars as the great Louis Armstrong in the Oregon premiere of Terry Teachout’s drama. Opens Thursday, through May 27 at Triangle Productions.
Miss Julie. Samantha Van Der Merwe directs Craig Lucas’s adaptation of Strindberg’s taut and explosive drama at Shaking the Tree, with Beth Thompson as Julie, Matthew Kerrigan as Jean, and Kelly Godell as Kristine. Friday through June 3.
Pinkalicious. Oregon Children’s Theatre brings back its musical hit about a girl who seems to have eaten too many pink cupcakes. Well, haven’t we all? Saturday through June 4, Newmark Theatre.
The Martha Graham Company. The modern exemplars of the legendary American modernist choreographer come to Schnitzer Hall next Tuesday, May 10, in the White Bird series.
ArtsWatch links
Gerald Clayton, family man. Angela Allen talks with jazz pianist Clayton, who plays The Old Church on Wednesday, and is carving his own place among a family of jazz bluebloods.
Mary’s Wedding: a retro refuge. A.L. Adams reviews this Canadian romance, a “refuge from the tempests of modern complication,” at Portland Center Stage.
Fire and Ice: accessible adventure. Brett Campbell talks with three woman composers (Stacy Philipps, Jennifer Wright, Lisa Ann Marsh) who are shaking up Portland’s music scene. “We’re all up for anything,” Wright says. “We found each other because we wanted to do things that don’t look like the traditional thing.”
Medea brings new meaning to catharsis. A.L.Adams reviews Imago Theatre’s fresh take on the ancient Greek classic, whose precarious balances are measured on a constantly tilting stage.
Cascadia Composers: lights, poetry, music. Composer Matthew Andrews takes readers inside the works of some recent contemporary concerts.
Talented. But are they universal? Hailey Bachrach reviews the world premiere of Yussef El Guindi’s The Talented Ones at Artists Repertory Theatre.
Pop goes the Oregon Symphony. Claire Sykes looks at all that “other” programming on the symphony season. Pops concerts? They’re not Arthur Fiedler and the Boston Pops anymore.